Catherine Brown - Böcker

This book provides comparison of Daniel Deronda with Anna Karenina and Women in Love in order to answer the following questions: why does one protagonist in each novel fail whilst another succeeds? And what does the 'comparative' in 'comparative literature' actually mean?

This work of intellectual and cultural history seeks to understand the recurring connection of teaching with contradiction in some major texts of the European Middle Ages. It moves comfortably between patristic and monastic exegesis, the Paris schools of the twelfth and thirteenth centuries, and late medieval Spain; between Latin and vernacular, between religious and secular. It assimilates the methodologies of religious and erotic texts, thereby displaying the investment of each in the sensuality and analytical power of language.The book begins by exploring Christian exegesis, in which biblical contradiction is the textual incarnation of a Truth that is at once and paradoxically singular and multiple. Exegesis teaches us of the possibility of maintaining the truth in one biblical proposition and, equally and simultaneously, in its apparent opposite. Under the aegis of dialectic and the Aristotelian rule of non-contradiction, however, we are next taught to read either/or, and to resolve contradiction not through suspension and multiplicity, as in exegesis, but rather through a judgment that favors either one proposition or the other. The writers studied here are John of Salisbury, whose Metalogicon is an ostensibly moderating critique of the intellectual extremism of the School of Paris logicians, and Peter Abelard, in whose life and writing the forces of contradiction work with maiming and illuminating violence.The book then considers the teaching-textuality of two great secular works of the Middle Ages, formed under the double instruction of the master disciplines of monastic exegesis and dialectic and under the tutelage of Ovid. Calling simultaneously on the both-and of exegesis and the either/or of dialectic, the teaching of these two texts is both biblical and worldly—impossibly, both at once, always in motion. The De Amore of Andreas Capellanus teaches two opposite propositions and commands that either one or the other must be chosen, yet in practice shows each proposition to be deeply embedded in the other. The concluding chapter turns from the Latin to the vernacular tradition to study one of the lesser-known examples of contradictory teaching, the fourteenth-century Libro de Buen Amor of Juan Ruiz, whose titular "good love" conflates the contrary things of spiritual and carnal love, while reminding readers that the difference between the two is urgently consequential.

WINNER, KATHERINE SINGER KOVACS PRIZE Remember the Hand studies a body of articulate manuscript books from the Christian monasteries of northern Iberia in the tenth and eleventh centuries. These exceptional, richly illuminated codices have in common an urgent sense of scribal presence—scribes name themselves, describe themselves, even paint their own portraits. While marginal notes, even biographical ones, are a common feature of medieval manuscripts, rarely do scribes make themselves so fully known. These writers address the reader directly, asking for prayers of intercession and sharing of themselves. They ask the reader to join them in not only acknowledging the labor of writing but also in theorizing it through analogy to agricultural work or textile production, tending a garden of knowledge, weaving a text out of words.By mining this corpus of articulate codices (known to a school of Iberian codicologists, but virtually unstudied outside that community), Catherine Brown recovers these scribes' understanding of reading as a powerful, intimate encounter between many parties—authors and their text, scribes and their pen, patrons and their art-object, readers and the words and images before their eyes—all mediated by the material object known as the book. By rendering that mediation conspicuous and reminding us of the labor that necessarily precedes that mediation, the scribes reach out to us across time with a simple but profound directive: Remember the hand.Remember the Hand is available from the publisher on an open-access basis.

Offers the most comprehensive assessment yet of Lawrence's relationship with the arts?Places Lawrence in the context of the latest developments in fields including life writing, posthumanism, queer theory, and technology studiesConsiders Lawrence's continued reception in other people's art, and the nature of his relevance todayThis book includes twenty-eight innovative chapters by specialists from across the arts, reassessing Lawrence's relationship to aesthetic categories and specific art forms in their historical and critical contexts. A new picture of Lawrence as an artist emerges, expanding from traditional areas of enquiry in prose and poetry into the fields of drama, painting, sculpture, music, architecture, dance, historiography, life writing and queer aesthetics. The Companion presents original research on topics such as Lawrence's politics in his art, his representations of technology, his practice of revising and rewriting, and the relationship between his criticism and creation of prose, poetry and painting. This interdisciplinary Companion also makes a strong case for Lawrence's continuing relevance and aesthetic power, as represented by case studies of his afterlives in biofiction, cinema, musical settings and portraiture.

George Eliot (born Mary Ann Evans, 1819-1880) was one of the most important writers of the European nineteenth century, as well as a pioneering translator of challenging and controversial Continental thinkers, and an influential editor and essayist. Although such novels of provincial life as Adam Bede, The Mill on the Floss and Middlemarch have seen her characterised as a thoroughly English writer, her reception and immersion in the literary, intellectual and political life of Europe was remarkable. Written by a team of leading international scholars, The Reception of George Eliot in Europe is the first comprehensive and systematic survey of Eliot's place in European culture. Exploring Eliot's deep knowledge of German literature and thought, her galvanizing influence on women novelists and translators in countries as diverse as Sweden and Spain, her travels in Holland, Germany, Switzerland, Austria, the Czech Lands, Italy, and Spain and her friendship with leading figures such as Mazzini, Turgenev, and Liszt, this study reveals her full stature as a cosmopolitan writer and thinker. A film of her Italian Renaissance novel Romola was one of the first to circulate in Europe.Including an historical timeline and a comprehensive bibliography of primary and secondary sources and translations, The Reception of George Eliot in Europe is an essential reference resource for anyone working in the field of Victorian Literature or the European nineteenth century.

Offers the most comprehensive assessment yet of Lawrence’s relationship with the arts　Places Lawrence in the context of the latest developments in fields including life writing, posthumanism, queer theory, and technology studiesConsiders Lawrence's continued reception in other people's art, and the nature of his relevance todayThis book includes twenty-eight innovative chapters by specialists from across the arts, reassessing Lawrence’s relationship to aesthetic categories and specific art forms in their historical and critical contexts. A new picture of Lawrence as an artist emerges, expanding from traditional areas of enquiry in prose and poetry into the fields of drama, painting, sculpture, music, architecture, dance, historiography, life writing and queer aesthetics. The Companion presents original research on topics such as Lawrence’s politics in his art, his representations of technology, his practice of revising and rewriting, and the relationship between his criticism and creation of prose, poetry and painting. This interdisciplinary Companion also makes a strong case for Lawrence’s continuing relevance and aesthetic power, as represented by case studies of his afterlives in biofiction, cinema, musical settings and portraiture.

The Scots Kitchen, first published in 1929, gives a delightful account of eating and drinking in Scotland throughout the ages, with definitive recipes for all the traditional national dishes.Cookery writer and broadcaster Catherine Brown describes the impact this pioneering book has had on the whole of Scottish cuisine and traces the fascinating life story of Marian McNeill herself. Notes explain how to use the book so that its treasure trove of recipes, covering the whole gamut of Scottish cuisine, can be explored in the modern kitchen. The contents includes:Soups * Brose and Kail * Fish * Game and Pultry * Meat * Vegetables * Sauces * Snacks and Savouries * Puddings and Pies * Sweets * Bannocks, Scones and Tea-breads * Cakes and Shortbreads * Preserves * Sweeties * Beverages

It's almost Christmas in Westie Green and the snowflakes are falling. Nestled deep within the Highlands of Scotland lives an enchanting community of West Highland Terriers, the Westie Hutters. Roobie & Radley and their pet piglet Disco live at the Bones Bakery where the ovens are busy cooking up Yummytastic Bone Biscuits for Christmas. Grandpa Angus delivers these in his VW Campervan, but he also needs to call on their help.Finding reindeer in Westie Woods, a search to find Santa, and the Tree of Awesomeness all add to the ingredients, making this Magical Christmas Adventure almost as tasty as Grandma Soozie's Christmas pudding and its hidden treasure. But can the little trio help rescue Christmas?

It's almost Christmas in Westie Green and the snowflakes are falling. Nestled deep within the Highlands of Scotland lives an enchanting community of West Highland Terriers, the Westie Hutters. Roobie & Radley and their pet piglet Disco live at the Bones Bakery where the ovens are busy cooking up Yummytastic Bone Biscuits for Christmas. Grandpa Angus delivers these in his VW Campervan, but he also needs to call on their help.Finding reindeer in Westie Woods, a search to find Santa, and the Tree of Awesomeness all add to the ingredients, making this Magical Christmas Adventure almost as tasty as Grandma Soozie's Christmas pudding and its hidden treasure. But can the little trio help rescue Christmas?

This book provides comparison of Daniel Deronda with Anna Karenina and Women in Love in order to answer the following questions: why does one protagonist in each novel fail whilst another succeeds? And what does the 'comparative' in 'comparative literature' actually mean?